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    Bracket racket

    In the Games of Thrones finale, it's dragons and ice zombies for the win

    Tarra Gaines
    Jun 4, 2012 | 6:00 am

    Game of Thrones' cast may be the largest on television, but most of the second season was filled with characters wandering aimlessly or shut in rooms for intense one-on-one yammering between sworn enemies and/or close family members, who were sometimes one and the same.

    As the potential rulers clashed, oblivious to the dangers of the coming winter and the monsters of the North, the HBO epic's second season felt like a rearranging of the deck chairs on the Titanic, only to find after the frenzied deck redecorating all the chairs wound up exactly where they began.

    There were so many plots and clashes this season, maybe this is not one game of thrones but a tournament. So let’s fill out the bracket sheet and see who's ahead in the second round.

    The Lannisters still rule Westeros. Danenerys Targaryen is stuck in Essos as her dragons grow. Robb Stark is winning his side of the Westeros wars. Stannis Baratheon is still a man without a throne or a sense of humor. The Stark children are scattered to the winds, and Arya is still cooler than her older brothers.

    Tyrion Lannister is the smartest and most underappreciated guy in any room. And the Night’s Watch army is wandering the land north of the Wall searching for a clue as to what the hell is going on up there.

    Only in the final minutes of the last episode did ever-a-sidekick Samwell Tarly find that clue in the shape of a massive zombie horde and White Walker, zombie-horse-riding masters.

    Nevertheless, there were so many plots and clashes this season, maybe this is not one game of thrones but a tournament. So let’s fill out the bracket sheet and see who's ahead in the second round.

    Renly Baratheon vs. Stannis Baratheon
    Winner: Stannis
    Besides fighting each other, the brothers of dead king Robert Baratheon were both involved with fertility plots. In a quest for an heir, Renly was lying back and thinking of Westeros as he attempted to impregnate boyfriend Loras Tyrell’s sister. Meanwhile, sex on a giant map with weird Red Priestess Melisandre conceived for Stannis a magical shadow baby who grew up fast and killed Renly.

    I’ll miss you Renly. Your bedroom-comedy scenes were some of the only few minutes of fun we got early in the season.

    Robb Stark vs. Tywin Lannister
    Winner: Robb
    Tywin was fighting two fronts this season, which gave Robb the edge initially; however, since viewers only saw the back end of some skirmishes, we’ll have to take the show’s word for this win.

    Stannis Baratheon vs. Joffrey Baratheon
    Winner: Joffrey
    King Joffrey, bastard son of Queen Cersei and her twin brother Jaime, won this seasons' sole spectacular on-screen battle, the Battle of Blackwater. The psychopathic and idiotic Joffrey took the glory for himself but won this round only thanks to his uncle Tyrion’s brains, his grandfather Tywin’s army, and an angry and grieving Loras Tyrell.

    Theon Greyjoy vs. Bran and Rickon Stark
    Winner: Brothers Stark
    Theon managed to bash down the doors and take Winterfell, using only his twin weapons of massive daddy issues and low self esteem. Yet by the end Bran, Rickon and their dire wolves made it out alive while Theon got hit over the head and shoved in a sack by his own men. My theory is that one day my favorite, 6-year-old Rickon, will vanquish all these other drama queens and kings and rule Westeros with his iron nut-cracking fist.

    Danenerys Targaryen vs. Plotlessness
    Winner: Dany by a dragon’s breath
    Dany spent half the season wandering around the desert and the other half looking for a ride to Westeros and turning down marriage proposals. Somewhere in the middle she must have made time for a spa day because her hair is perfect once more. After her baby dragons were kidnapped, she wandered around a hallucinogenic tower, did battle with some magician monks, shoved her double-crossing potential fiancé to his empty treasure vault, and took all his goldware. Plotlessness lies bleeding and defeated in her wake.

    Whores vs. Cartographers
    Winner: Whores, because maps don’t exist in Westeros except as tables for conceiving shadow babies.
    I understand HBO doesn’t have the money to stage a Blackwater-sized battle every episode, but I’d trade one or all scenes of the girls from Littlefinger’s best little whorehouse in Westeros for five minutes of Robb or Tywin talking to advisors while pushing model soldiers across a map. I’m beginning to resent having to consult the HBO online guide just to know where characters are located or what battles have been waged off-screen.

    Tyrion Lannister vs. Ennui
    Winner: Tyrion, by a nose.
    Once Ned Stark died and Sean Bean exited the show, Game of Thrones became the property of Peter Dinklage and his Tyrion Lannister. The character’s intellect and the actor’s prowess were sometimes the only bit of light in each dark episode populated by some very unpleasant characters. He makes wading through the endless palace intrigue and wars worth it for those of us who want more zombie hordes, dragons, and dire wolves in our War of the Roses reenactments.

    But by the last episode even Tyrion’s sword sharp wit has dulled by the direness of this game. I know your pretty, pretty snarking face has been scarred, but don’t let the bastards drive you down, Tyrion. You're still the only one having fun in this muddy mess.

    Jon (Dead Ned’s bastard) Snow vs. A Hell of a Lot of Snow
    Winner: Snow
    While Season Two remained tightly focused on the players in the game, the real threat north of the wall was shrouded in snowy mystery until the final few minutes. A former night’s watchman has declared himself king of the Wildlings but he stayed annoyingly off-screen the whole season. Finally a blizzard brought in proof that the show’s promise that "winter is coming" is indeed a threat.

    Ggood luck to the ice zombie hordes as they move up to the third round of the Game of Thrones. I'm rooting for the defeated cartographers to draw them a map straight to Joffrey’s brain.

    unspecified
    news/entertainment

    Movie Review

    Spielberg-inspired movie The End of Oak Street is a dino-snore

    Alex Bentley
    Aug 13, 2026 | 2:00 pm
    Ewan McGregor and Anne Hathaway in The End of Oak Street
    Photo by Daniel McFadden
    Ewan McGregor and Anne Hathaway in The End of Oak Street.

    Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

    Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

    That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

    Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

    When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

    As if those weren’t enough, Mitchell — perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) — tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

    Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

    Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg — there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end — all Mitchell has done is show how difficult it is to be the master.

    ---

    The End of Oak Street opens in theaters on August 14.

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